In his second post for our Weaving the Streets project, Tzintzun Aguilar-Izzo describes a firsthand account of one of his recent invasion “The Great Boston Wall of Gentrification,” contextualizing his act of resistance.
In her fourth post for our Weaving the Streets project, Bridget Ireland reflects on the emerging street art scene she encountered in Amman, Jordan, from innocuous and easily-ignored graffiti to celebrated and officially-sanctioned public art.
Follow-up to our earlier report from Steve Peraza: On Thursday evening, community leaders shut down traffic in downtown Buffalo at a rally protesting the death of Wardel “Meech” Davis, an unarmed black man who died in police custody the night of February 7th. Here are some of the sights and sounds.
My name is Steve Peraza, and I am an unarmed black man who lives in Buffalo, New York. Until recently city leaders promised that I had nothing to fear from police. The proof? No one had died in police custody. All that changed on Tuesday night.
In his latest post for our Weaving the Streets project, Tzintzun Aguilar-Izzo introduces his new blog “Dissecting Boston: Weaving Together the Borderlines of American Identity” and the artistic activism soon to come.
In this episode of Jim Crow on Campus, reporter Erin Corbine sits down with “Ashley.” Ashley, who’s using an alias out of fear of retaliation from police and the administration, is a senior at SUNY Canton. She sheds light on her experiences involving University Police. In this episode, we gain insight into the officers’ strategic circumvention of the Fourth Amendment - the freedom from unreasonable search and seizure.
In the first episode of the new Jim Crow on Campus podcast series, reporter Erin Corbine talks to student Tyreek Alicea about his experiences with the SUNY Canton police. We learn what additional powers SUNY Canton police have over students, how they use them, what a “module” is, and Tyreek’s tips for not attracting the attention of the cops.
In her latest post for our Weaving the Streets project, Darcy Best checks in from Galway, Ireland, with news of some creative street culture activity in the 2020 European Capital of Culture.
Happy post-holiday season, y’all! It’s hard to believe that the holidays have come and gone once again and that we are now in a whole new year. It’s especially hard for me to believe because that means that I first stepped foot in my new hometown, the adorable and bustling medieval city of Galway, Ireland, just over two months ago.
One of the best parts of studying in Jordan, a centrally located Middle Eastern country, is the ease of travel around the region. I was lucky enough to travel to Beirut, Lebanon, over a break in the semester at AMIDEAST to experience a new city and new culture. Beirut has significantly more street art than Amman at the moment, partly because of the consistent political turmoil and lack of stability in the government. Street art is a way to express political activism and culture, which Beirut is not lacking. Colorful word art and unique designs adorn the city, a way of distinguishing itself as an independent city.
Since moving to Allston, Massachusetts, in September, I’ve been delighted by the use of public space for displays of humor. When I walk to the bank or the grocery store, I almost always see art or text on the street that makes me laugh. My amusement causes other passersby to look at what I’ve discovered, and then they start laughing, too. And that attracts even more people and more giggles and more chuckles. Community is built through the shared experience of this humor. Allston is notorious for being an area populated by college students, grad students, and young post-grads, so it’s natural that many people in my neighborhood have a similar cultural framework that begets a communal sense of humor.
While conducting this research on the history of the North Country dairy industry, I contactedTraditional Arts in Upstate New York (TAUNY), a local non-profit organization based in Canton, NY. TAUNY developed an exhibit in 2013 entitledDairy Farm Workers in Northern New York, which consisted of several recorded and transcribed interviews with dairy farmers throughout St. Lawrence County and with some Hispanic migrant workers, as well as several photos of the farms that depict various aspects of farm life and work. In this particular post I will be referencing some of the interviews with the farmers to share their experiences and perspectives on the aforementioned changes within the North Country dairy industry over the last thirty years. I will be referencing the transcribed interviews with farmers from three different dairy farms in St. Lawrence County: Decker Farm, Adon Farm, and Andrews Farm.
Many days I’ve walked through Boston in a huff of negative emotion; fuming about the man who kindly complimented my leggings, then yelled “Nice ass!” when I walked away; beating myself up about not doing enough to advocate for the safety of my friends of color, my queer friends, my trans friends; frustrated and scared about the interest growing on both my undergrad and grad school loans. But then I see text out of the corner of my eye and I’m taken out of my own thought-spirals back to the present, back to the street.